21/05/2026
Our first review is in......
It is so much more than a delicious young man jumping up and down in his un**es – VANYA & SONIA & MASHA & SPIKE - the play that is.
Director Tania Nash’s production offers so much more than a comedy - the Japanese pottery skill kintsugi is the perfect metaphor for Christopher Durang’s play of three disparate siblings’ reunion.
Durang wrote that the play is not based on Anton Chekhov, nor is it a parody of Chekhov. Rather, it feels as though he has taken some of Chekhov’s characters and themes and tossed them into a blender.
The result is a comic medley of clever silliness, burlesque humour, and unexpectedly deep themes that touch the heart. The stylish American country farmhouse set — designed by Nic Purcell and built and painted brilliantly by Noosa Arts Secret Men’s Business and Margaret Courtney's costumes — adds enormously to the production.
Add to that the impeccable choice of music, props, and stage management, and the result is a memorable theatrical experience.
At times the action on stage is highly physical, so let’s begin with that young fellow in his un**es — Spike, played by James Munn. James perfectly embodied Spike’s youthful confidence; he lived and breathed the character’s effortless charisma. Charmingly vacuous, Spike grinned his way through the play, utterly unselfconscious about his body, clothed or otherwise.
James wisely avoided the trap of overacting — easy to do in a role requiring him to spend much of the evening centre stage, semi-naked and flexing hamstrings and pecs. No — James was perfectly cast and delivered an equally perfect performance.
Spike, of course, is Masha’s lover. Masha — the glamorous celebrity sister to Vanya and Sonia — was played by Rainee Skinner, who fitted the role like a glove. One of those silk-lined, elbow-length gloves. She captured not only the fading star’s arrogance, but also the remorse of a woman who realised she would never be seen as a serious classical actress.
We felt for her as she agonised over Spike’s wandering attention - “Did he say don’t wait up for me?” - fearing his youthful needs were being met elsewhere.
Cassandra, the “beware the Ides of March” cleaning lady, was delightfully played by Jenni McCaul. The role gave her full licence to embrace the character’s wild eccentricity — and Jenni embraced it magnificently.
Taking the role of Nina, the pretty young neighbour, was Lily Paris. Lily’s enthusiasm and freshness shone throughout. Many young actors, it must be said, could not manage the complex role of a movie-star fan, D***y the dwarf, and yes folks even a molecule. But Lily brought charm and conviction to it all.
Sonia - how well I know you, having lived in the shadow of my own lightning-rod sister. Forever offering open arms for an embrace rarely received. Oriana Packman - wow. At times I wondered whether Christopher Durang had imagined you when he created Sonia.
You nailed the role. Angry, contrite, sobbing, vulnerable, and occasionally wicked. And then Maggie Smith at her finest.
Vanya, Stephen Moore. Stephen how I loved your Vanya. The nervous writer, celibate, gay, exasperated by Spike’s antics yet finding comfort in the memories of yesteryear.
Your iconic five-page rant was exquisitely performed. What a huge role, and what a deeply compassionate Vanya you created. I salute you.
I was lucky to be in the audience for the ‘final-dress’ last evening and without hesitation I tell you if you aint got your tickets, book now before it is sold out.
Beginning it’s season at Noosa Arts Theatre 21 May.
REVIEWED by Mary Atkins
